Martin Frobisher, the hero of the Armada, wears a jerkin fastened down the front with buttons and aigletted points. (See here.) I suppose, when the fronts of the jerkin were thoroughly joined, each button had a point twisted or tied around it. Frobisher’s lawn ruff is a modest and becoming one. This portrait in the original is full length. The remainder of the costume is very plain; it has no garters, no knee-points, no ribbons, no shoe-roses. The foot-covering is Turkish slippers precisely like the Oriental slippers which are imported to-day. The Earl of Morton (here) wore a jerkin of buff leather curiously pinked and slashed. Fulke Greville’s doublet (here) has a singular puff around the waist, like a farthingale.Here is shown a doublet of the commonest form; this is worn by Edward Courtenay, Earl of Devonshire. The portrait is painted by Sir Antonio More—the portrait of one artist by another, and a very fine one, too. Another garment, which is constantly named in lists of clothing, was the cassock. Steevens says a cassock “signifies a horseman’s loose coat, and is used in that sense by the writers of the age of Shakespere.” It was apparently a garment much like a doublet or jerkin, and the names were used interchangeably. I think the cassock was longer than the doublet, and without “laps.” The straight, long coats shown on the gentlemen in the picture here were cassocks. The name finally became applied only to the coat or gown of the clergy. In the will of Robert Saltonstall, made in 1650, he names a “Plush Cassock,” but cloth cassocks were the commonest wear. There were other names for the doublet which are now difficult to place precisely. In the reign of Henry VIII a law was passed as to men’s wear of velvet in their sleeveless cotes, jackets, and jupes. This word jupe and its ally jupon were more frequently heard in women’s lists; but jump, a derivative, was man’s wear. Randle Holme said: “A jump extendeth to the thighs; is open and buttoned before, and may have a slit half way behind.” It might be with or without sleeves—all this being likewise true of the doublet. From this jump descended the modern jumper and the eighteenth century jumps—what Dr. Johnson defined in one of his delightsome struggles with the names of women’s attire, “Jumps: a kind of loose or limber stays worn by sickly ladies.” Colonel William Legge. Colonel William Legge. Coats were not furnished to the Massachusetts or Plymouth planters, but those of Piscataquay in New Hampshire had “lined coats,” which were simply doublets like all the rest. In 1633 we find that Governor Winthrop had several dozen scarlet coats sent from England to “the Bay.” The consigner wrote, “I could not find any Bridgwater cloth but Red; so all the coats sent are red lined with blew, and lace suitable; which red is the choise color of all.” These coats of double thickness were evidently doublets.